- physdesc
-
{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"99.5 linear feet", "unit"=>"linear feet"}, {"name"=>"extent", "value"=>"166 boxes", "unit"=>"containers"}], "supress_display"=>true}
- unitid
-
{"value"=>"JPB 95-6", "type"=>"local_call"}
{"value"=>"20352", "type"=>"local_mss"}
- unitdate
-
{"value"=>"1918-1985", "type"=>"inclusive", "normal"=>"1918/1985"}
- date_inclusive_start
-
1918
- date_inclusive_end
-
1985
- keydate
-
1918
- unittitle
-
{"value"=>"Jan Peerce papers"}
- repository
-
{"value"=>"<span class=\"corpname\">The New York Public Library for the Performing Arts.</span><span class=\"subarea\">Music Division.</span> <div class=\"address\"> <span class=\"addressline\">New York, New York</span></div>"}
- abstract
-
{"value"=>"Jan Peerce (1904-1984) was an American tenor whose career as an opera star and concert performer extended more than fifty years. The Jan Peerce Papers are a record of his life and career, documented through correspondence, scripts, writings, programs, clippings, scores and other performance materials."}
- prefercite
-
{"value"=>"<p>Jan Peerce Papers, JPB 95-6. Music Division, The New York Public Library for the Performing Arts.</p>"}
- origination
-
{"value"=>"Peerce, Jan, 1904-1984", "type"=>"persname"}
- bioghist
-
{"value"=>"<p> Jan Peerce was born Jacob Pincus Perelmuth on June 3, 1904. His parents, Louis Perelmuth and Anna Posner Perelmuth, were Russian immigrants who settled on Manhattan’s Lower East Side. Jacob’s mother wanted him to play the piano, but the family could not afford one for him, so she settled on the violin. Occasionally during this period, Jacob would sing at his local synagogue, winning praise for his high, pre-adolescent voice. Singing was far from the top of Jacob’s priorities, however. His mother envisioned a medical career for him, and Jacob had no objection. As he finished high school and began college, however, he began to have other ideas.</p> <p> Jacob put together a small dance band, featuring his violin, and made some extra money by playing at social events. The band started by playing at weddings held in the Perelmuth’s catering hall, but soon found other work. Jacob enjoyed his musical work more than his schoolwork and saw that it could be far more remunerative than studying. When he failed out of Columbia University for neglecting his studies, he decided to try making a living as a full-time musician.</p> <p> While struggling with his band, Jacob eloped with his long-time girlfriend, Alice Kalmanowitz. Although Jacob and Alice had first met as children in 1912, they did not begin dating until the mid-1920s. The Perelmuths did not approve of the relationship because they were afraid a serious girlfriend or wife might lure Jacob away from his studies and the Kalmanowitzes disapproved because, although they liked Jacob personally, they did not foresee a financially successful future for him. Jacob and Alice had actually married in secret in October, 1928, several months before their elopement, but they each went back to live with their parents and told no one of the marriage. Finally, in June 1929, Jacob and Alice ran off to Chicago and had their religious ceremony. Their parents were dismayed, but ultimately accepted the marriage and Jacob and Alice returned to New York. In 1930, Alice gave birth to a son named Lawrence, who, as Larry Peerce, would grow up to become a successful television and motion picture director.</p> <p> The band had found some success by this time, especially once Jacob began singing the vocal choruses himself with his impressive tenor voice. Under the names Jack Pearl and Pinky Pearl, Jacob and his band worked more and more until 1932 when a job at a hotel brought Jacob together with impresario Samuel “Roxy” Rothafel. Rothafel was in the process of creating entertainment programs for the newly-completed Radio City Music Hall and he approached Jacob after hearing him play and sing. Jacob was surprised that Rothafel was interested at all, but particularly that he was interested in Jacob as a singer, rather than a violinist. Rothafel changed his name to “John Pierce” and hired him as a singer. Jacob had little confidence in his chances for success, largely because he thought his short stature, ethnic features and wide body type would preclude him from winning over audiences. Rothafel told him he was “the handsomest man in the world” if he would only believe it and Jan Peerce would credit Rothafel for giving him the confidence that would last the rest of his life.</p> <p> While singing classical and popular music at Radio City Music Hall, Jacob convinced Rothafel to compromise and call him “Jan Peerce”. The new name had the sound that Rothafel wanted, but made Jacob feel more comfortable and closer to his own identity. As Jan Peerce, he also worked in radio, sometimes anonymously and sometimes under his new name. In 1935, the Peerces had their second child, Joy. His repertoire grew wider and began to include operatic arias as the 1930s wore on. In 1938, Peerce was called upon to audition for Arturo Toscanini, the most famous conductor of the century. Toscanini needed a tenor for a concert performance of Beethoven’s <span class=\"title\">Ninth Symphony</span>, and Peerce had been recommended. After a successful audition in Toscanini’s hotel suite, Peerce got the job and his appearance with Toscanini expanded his reputation greatly. Toscanini frequently referred to Peerce as his “favorite tenor” and they maintained a friendship and occasional professional collaboration for fifteen years, until Toscanini’s retirement.</p> <p> Peerce had still never performed a full opera, although some critics and many fans were discussing his future as a tenor at The Metropolitan Opera. Though Peerce was still unsure of his suitability for grand opera, Alice Peerce had no doubts and, while serving as her husband’s agent, she booked him, without his knowledge, to appear in Rigoletto in Baltimore with star Robert Weede. Peerce learned the part, honored his wife’s commitment and received great acclaim for his operatic debut. He began studying other operas and appearing in various touring companies throughout the United States, in addition to his concert tours. In 1939, the Peerces had their third child, Susan.</p> <p> At last, in 1941, The Metropolitan Opera offered Peerce a contract and on November 29, Jan Peerce made his Metropolitan Opera debut in <span class=\"title\">La Traviata</span>. Critics were nearly unanimous in their praise and he made numerous subsequent appearances that season. Peerce remained a fixture at The Metropolitan Opera for twenty-five straight seasons. He was one of the institution’s most famous and commercially popular tenors, continuing to perform the roles he considered within the scope of his voice and personality. Despite urging by Toscanini and others, Peerce insisted that not every opera was for every singer and he kept to his repertoire of approximately twenty operatic roles. Peerce remained with The Metropolitan Opera, while also touring the country with various other companies, until 1966, when he retired from operatic performance because his vision had deteriorated and he could not navigate the complex sets anymore.</p> <p> Peerce was in constant demand as a concert performer from the 1930s through the 1980s. He traveled the country every year and made several international tours, including trips to Japan, South Africa, Western Europe, Canada, Australia and New Zealand. In 1956, he became the first American singer to visit the Soviet Union on a concert tour. Although throughout his life, people mistakenly claimed he had been a cantor, Peerce did incorporate Passover services at various hotels into his appearance schedule. Each year from the 1960s through the early 1980s, Peerce presided over religious services for hotel guests, usually in Miami, Florida.</p> <p> Peerce was a frequent and successful recording artist and pioneered a trail between classical or operatic singing and popular music. Frequently commenting that the only two kinds of music are “good” and “bad”, Peerce would record entire operas, albums of arias and classical songs, as well as popular singles and albums of Broadway show tunes. His recording of <span class=\"title\">The Bluebird of Happiness</span> was immensely popular, eventually becoming one of the best-selling records by a concert artist. It also became Peerce’s most requested number, to the shock and dismay of some classical critics.</p> <p> After retiring from grand opera, Peerce embarked on a new phase of performance: the musical theater. Feeling a very personal connection to the story of <span class=\"title\">Fiddler on the Roof</span>, Peerce made it clear he was interested in appearing in the play. After a summer tour of the show in Ohio, Peerce took the lead role in the Broadway production for several months in 1971 and 1972. He would continue to tour with the show on and off through 1982. He never again appeared on Broadway, but did tour in <span class=\"title\">The Rothschilds</span> and an original musical intended for Broadway, <span class=\"title\">Laugh a Little, Cry a Little</span>.</p> <p> Peerce was very concerned with maintaining the quality of his voice and rehearsed constantly. His longevity was rare, if not unique, and he continued to impress critics and audiences until 1982, when he became ill and fell into a coma from which he never recovered. Jan Peerce died on December 15, 1984.</p>"}
- scopecontent
-
{"value"=>"<p>The papers of Jan Peerce encompass both the public and private sides of his life. Peerce’s correspondence incorporates personal and professional communication, including a substantial number of letters between Jan Peerce and his wife, Alice. The collection contains over fifty years worth of programs, clippings and publicity materials relating to Peerce’s concert and operatic appearances. There are scrapbooks documenting his travels, contracts tracing the course of his career, and appointment books detailing his schedule. His repertoire is represented by a sizable collection of scores, many of which are original arrangements for Peerce’s concert appearances. Scripts of many of Peerce’s radio, television, nightclub and motion picture appearances are included in the collection, although most are not annotated. There are transcripts of interviews with Peerce, as well as copies of articles and speeches written by him. The collection includes various notes and drafts of Peerce’s memoir, <span class=\"title\">The Bluebird of Happiness</span>. Memorabilia includes a large collection of plaques presented to Peerce and his wife, honoring their commitments to various causes, as well as his talent. The collection includes photographs documenting Peerce’s professional appearances and family life. There are also signed photographs from many of his colleagues. While the collection documents Peerce’s career in great detail, it includes much less about his personal life. There is very little material from his early life or with regard to his family, apart from the extensive correspondence with his wife.</p>"}
{"value"=>"<p class='list-head'>The Jan Peerce papers are arranged in fourteen series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/mus/20352#c593681'>Series I: Correspondence</a></div>\n<div class='series-date'>1918-1985</div>\n<div class='series-extent'>9.25 linear feet [18 boxes and 4 folders]</div>\n<div class='series-description'><p>This series contains Peerce’s personal and professional correspondence, including numerous letters between him and his wife, Alice. In addition, the series includes condolences sent following Peerce’s death.</p></div></li><li><div class='series-title'><a href='/mus/20352#c593859'>Series II: Scripts</a></div>\n<div class='series-date'>1935-1982</div>\n<div class='series-extent'>1.25 linear feet [2 boxes and 10 folders]</div>\n<div class='series-description'><p>This series contains scripts for many of Peerce’s appearances in motion pictures, plays, radio, and television. Most are not annotated.</p></div></li><li><div class='series-title'><a href='/mus/20352#c593926'>Series III: Writings and Interviews</a></div>\n<div class='series-date'>1937-1981</div>\n<div class='series-extent'>1 linear foot [2 boxes]</div>\n<div class='series-description'><p>This series consists of articles, speeches and press releases written by, or credited to, Jan Peerce. There are also prospectuses and a complete draft of his memoir The Bluebird of Happiness, and some notes on his stage appearances. In addition, the series includes magazine interviews and transcripts of oral interviews with Jan Peerce.</p></div></li><li><div class='series-title'><a href='/mus/20352#c593949'>Series IV: Financial</a></div>\n<div class='series-date'>1927-1982</div>\n<div class='series-extent'>1 linear foot [2 boxes]</div>\n<div class='series-description'><p>This series contains contracts for various appearances and recordings in Jan Peerce’s career, as well as statements, checks, receipts and other financial documentation.</p></div></li><li><div class='series-title'><a href='/mus/20352#c593977'>Series V: Professional</a></div>\n<div class='series-date'>1928-1985</div>\n<div class='series-extent'>2 linear feet [4 boxes]</div>\n<div class='series-description'><p>This series contains song lists, repertoire lists and discographies from Jan Peerce’s career, as well as publicity materials including press releases, biographies, catalogues and fliers advertising his appearances. The series also includes travel records, such as passports and itineraries, from Peerce’s national and international tours. A highlight of the series is a pair of fragile prompt books, which Peerce carried with him on stage during all his appearances.</p></div></li><li><div class='series-title'><a href='/mus/20352#c594037'>Series VI: Programs</a></div>\n<div class='series-date'>1927-1985</div>\n<div class='series-extent'>8.75 linear feet [17 boxes and 2 folders]</div>\n<div class='series-description'><p>This series consists of programs for many of Jan Peerce’s appearances, including concerts, operas and summer stock musicals, several of which are signed. The series also contains some programs for appearances by others, presumably attended by Jan and/or Alice Peerce.</p></div></li><li><div class='series-title'><a href='/mus/20352#c594142'>Series VII: Clippings</a></div>\n<div class='series-date'>1933-1985</div>\n<div class='series-extent'>1.5 linear feet [2 boxes and 12 folders]</div>\n<div class='series-description'><p>This series consists of clippings documenting Jan Peerce’s career. Most are in English, but there are some foreign-language clippings, some of which include English translations.</p></div></li><li><div class='series-title'><a href='/mus/20352#c594188'>Series VIII: Personal</a></div>\n<div class='series-date'>1939-1984</div>\n<div class='series-extent'>2.75 linear feet [5 boxes and 5 folders]</div>\n<div class='series-description'><p>This series includes Jan Peerce’s personal records and souvenirs, as well as appointment books and memo books kept by the Peerces.</p></div></li><li><div class='series-title'><a href='/mus/20352#c594239'>Series IX: Photographs</a></div>\n<div class='series-date'>1927-1982</div>\n<div class='series-extent'>2.5 linear feet [5 boxes]</div>\n<div class='series-description'><p>This series consists of photographs documenting Jan Peerce’s professional appearances, family life and travels. There are also several autographed pictures of Peerce’s colleagues.</p></div></li><li><div class='series-title'><a href='/mus/20352#c594443'>Series X: Books</a></div>\n<div class='series-date'>1954-1978</div>\n<div class='series-extent'>.5 linear feet [1 box]</div>\n<div class='series-description'><p>This series consists of books owned by Jan Peerce. Some are religious in nature, while others include contributions by Jan Peerce.</p></div></li><li><div class='series-title'><a href='/mus/20352#c594449'>Series XI: Memorabilia</a></div>\n<div class='series-date'>1936-1982; Undated</div>\n<div class='series-extent'>12 linear feet [21 boxes]</div>\n<div class='series-description'><p>This series includes three-dimensional artwork owned by Jan Peerce, medallions and plaques awarded to Jan and Alice Peerce and an unidentified baby gown.</p></div></li><li><div class='series-title'><a href='/mus/20352#c594524'>Series XII: Scores</a></div>\n<div class='series-date'>1926-1965; Undated</div>\n<div class='series-extent'>27.5 linear feet [40 boxes]</div>\n<div class='series-description'><p>This series consists of scores, manuscript and published, for various songs in Jan Peerce’s repertoire. The series is divided into unbound and bound scores.</p></div></li><li><div class='series-title'><a href='/mus/20352#c594907'>Series XIII: Scrapbooks</a></div>\n<div class='series-date'>1935-1977</div>\n<div class='series-extent'>22 linear feet [36 boxes]</div>\n<div class='series-description'><p>This series consists of scrapbooks documenting Jan Peerce’s career. Some simply cover a chronological period, while others are strictly concerned with one tour or event.</p></div></li><li><div class='series-title'><a href='/mus/20352#c594966'>Series XIV: Oversized</a></div>\n<div class='series-date'>1941-1982</div>\n<div class='series-extent'>7.5 linear feet [8 boxes]</div>\n<div class='series-description'><p>This series contains awards and tributes to Jan Peerce, as well as oversized artwork, photographs, posters and publicity materials.</p></div></li></ul>\n", "type"=>"arrangement"}
- arrangement
-
{"value"=>"<p> <ul> <li>Series I: Correspondence, 1918-1985 <ul> <li>Sub-series 1 - General, 1918-1985</li> <li> Sub-series 2 - <span class=\"persname\">Peerce, Alice</span>, 1926-1985</li></ul></li> <li> Series II: Scripts, 1935-1982</li> <li>Series III: Writings and Interviews, 1937-1981</li> <li>Series IV: Financial, 1927-1982</li> <li> Series V: Professional, 1928-1985</li> <li>Series VI: Programs, 1927-1985</li> <li>Series VII: Clippings, 1933-1985</li> <li> Series VIII: Personal, 1939-1984<ul> <li>Sub-series 1 – General Records, 1939-1984; Undated</li> <li>Sub-series 2 – Appointment Books, 1959-1983</li> <li>Sub-series 3 – Memo Books, 1963-1982; Undated</li></ul></li> <li> Series IX: Photographs, 1927-1982</li> <li>Series X: Books, 1954-1978</li> <li>Series XI: Memorabilia, 1936-1982; Undated</li> <li> Series XII: Scores, 1926-1965; Undated <ul> <li>Sub-series 1 – Unbound, 1965; Undated</li> <li>Sub-series 2 – Bound, 1926-1961; Undated</li></ul></li> <li>Series XIII: Scrapbooks, 1935-1977</li> <li>Series XIV: Oversized, 1941-1982</li></ul></p>", "supress_display"=>true}
- acqinfo
-
{"value"=>"<p>The Jan Peerce Papers were donated to the Music Division in 1994 by Alice K. Peerce.</p>"}
- separatedmaterial
-
{"value"=>"<ul><li>To Music Division<ul><li>Cups and Glasses<ul> <li>Drinking glass with \"Jan Peerce\" engraved</li> <li>Small two-handled award cup from The Transvaal Press Club (1961)</li> <li>Kiddush Cups<ul> <li>Women's League for Israel</li> <li>\"From Your 'Fiddler' Family With Love\"</li> <li>\"Jan...Alice...Anatevka\"</li> <li> <span class=\"title\">Laugh a Little Cry a Little</span> (1974)</li> <li> <span class=\"title\">Fiddler on the Roof</span>-Vancouver (1978)</li> <li>\"Poppa\" (probably from a <span class=\"title\">Fiddler on the Roof</span> cast)</li></ul></li></ul></li></ul> <ul><li>Desk Sign<ul><li>\"Mrs. Jan Peerce-Israel Bond Conference\" (with pen)</li></ul></li></ul> <ul><li>Figures<ul> <li> <span class=\"title\">Fiddler on the Roof</span> music box (plays <span class=\"title\">If I Were a Rich Man</span>)</li> <li>Moses Lake <span class=\"title\">Fiddler on the Roof</span> figure seated on pedestal (1982) (broken head and arms)</li> <li>Hazerim Air Force Base Plaque with three-dimensional fighter plane (1980)</li></ul></li></ul> <ul><li>Jewelry Box<ul><li>Opera Associates of the Music Center (Los Angeles, 1977)</li></ul></li></ul> <ul><li>Menorahs<ul> <li>Awarded by The Federation of Jewish Philanthropies</li> <li>Awarded by Panim El Panim</li></ul></li></ul> <ul><li>Paperweights<ul> <li>A.G.E.D. President's Award</li> <li>Green Marble-Anchorage Concert Association</li> <li>Green Marble-State of Alaska</li> <li>Red \"Metropolitan Opera House\" (1966)</li></ul></li></ul> <ul><li>Plates, Commemorative<ul> <li>Bluebird of Happiness Custom Plate (gift from J.H. Wild, M.D.)</li> <li>Joyce Eaton Memorial Society for the Blind (mosaic plate with inscription on reverse)</li> <li>Pagliacci</li> <li>Ventnor Summer Music Festival</li></ul></li></ul> <ul><li>Plate Stand<ul><li>20th Anniversary of Israel (carved from cross-section of a tree) (1968)</li></ul></li></ul> <ul><li>Travel Kit<ul><li>Monogrammed</li></ul></li></ul> <ul><li>Trophies / Awards<ul> <li>U.S. Savings Bond Program (1971)</li> <li>\"Johann\" trophy-Viennese Culture Club (1976) (broken hand)</li> <li>Tevye figure-Friends of Refugees of Eastern Europe (1977) (broken hands)</li> <li>Scopus Award-American Friends of the Hebrew University (1979)</li> <li>Trophy-Writers and Artists for Peace in the Middle East (1980)</li> <li>Glass-encased figure- Friends of Refugees of Eastern Europe (1982)</li> <li>Large chiseled rock-America-Israel Cultural Foundation (1984)</li> <li>Framed description of an award not found in collection (Undated)</li></ul></li></ul> <ul><li>Wallets<ul><li>Box of two from the Canadian government-inscribed and monogrammed</li></ul></li></ul></li></ul> <ul><li>To Rodgers & Hammerstein Archive of Recorded Sound<ul><li>Film<ul><li>One roll of 8mm home movie film</li></ul></li></ul> <ul><li>Recordings<ul><li>One 45 rpm recording-<span class=\"title\">Favorite Hymns in Maori</span></li></ul></li></ul></li></ul>"}
- userestrict
-
{"value"=>"<p>For permission to publish, contact the Chief, Music Division</p>"}
- langmaterial_code
-
afr
fre
ger
heb
rus
swe
- langmaterial
-
{"value"=>"The Clippings series includes items in Afrikaans, French, German, Hebrew, Russian, and Swedish"}
- processinfo
-
{"value"=>"<p>Processed by Lee Spilberg; Machine-readable finding aid created by Lee Spilberg.</p>"}
- extent_statement
-
99.5 linear feet (166 boxes)
- date_start
-
1918
- date_end
-
1985